LASZLO LEGEZA TAO MAGIC The Chinese Art of the Occult 211660 PANTHEON BOOKS A Division of Random House New Yorkacing title pag Talisman for seeking office. In the performance ofall kinds of due, i wi ombine peace with good fortune (ao-tsang 608-3: 308) Fist American Edition Copyright © 1975 by Thames and Hudson Led All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Pantheon Books, a divi sion of Random House, Inc., New York. Published in Great Britain as Tao Magic: The Secret Language of Dia ligrphy by Thames and Hudson Ltd., London in Publica Data Library of Conge Leger Ie Tso Magic. 1. Magic, Chinese. 2. Calligraphy, Chinese. 3. Taoism, 1 Title Brisaa.CsL43 7s 1334095 ISBN 0-395275125-5 sured in the United States of AmericaContents Introduction The Secret Sources Eternal Change Vital Breath Bodily yin-yang and Alchemy The Spirit World The Magic Power of Calligraphy The Mystic Graphic Arts Making Talismans Talismanic Language The Taoist Vision The Plates The Figures Meditational diagrams and talismans Charms for summoning spirits Preventive talismans Protective talismans Curative talismans Implements of magic Note on the Tao-tsang (Taoist canon) Chronology Bibliography 31Introduction This selection of Taoist magic diagrams, talismans and charms repre- sents an aspect of Chinese art virtually unknown in the West. Art historians — even Eastern art historians ~ have largely ignored them, concerning themselves primarily with problems of artistic technique rather than meaning, the question of ‘how’ rather than ‘why’. Yet Taoist calligraphy, as I shall be showing, has been of first importance in China since carliest times, both as an artistic carrier of spiritual truths, and as the one means of communication with the spirits Taoist graphic art was first and foremost a practical magic, enabling man to communicate with the spirit world and influence the workings of the invisible forces of nature for his own benefit. It was geared to his everyday necds, concerned with the changes of season and weather essential for planting, harvesting, and building. On another level of daily life, the diagrams and talismanswere intended to cure sickness, bless marriage, ease childbirth, protect the household from fire, get rid of pestilence and misfortune, guard against calamities. In short, they were to make the daily life of the people easier. Later in the text we shall be looking at the different ways in which these magic dia- grams have been made and used, throughout the centuries On a deeper philosophical level, the diagrams may be understood as embodying the concepts of Taoist philosophy. They are to help us harmonize the sexual polarities, the yin and yang, within ourselves, and to place us in harmony with the turbulent energies that act upon our lives and the universe. At the most profound level of al, they point ¢ way to the core of Chinese mysticism. We can intuit the truth that reality is not a succession of separate moments, or an infinite number of separate ‘things’, but a seamless web of eternal change, like the currents of a river, or clouds blown by the wind; that ‘being’ and ‘non-being’ arc complementary, just as the fretted stones which we see depicted in the diagrams are given their shape by erosion, and the surrounding silence gives music its form. In the visual arts of China, empty space is as important as line. The final goal of the Taoist mystic is to penetrate beyond ordinary ‘reality’ to reach to an awareness ofGeomancy patcerns The Flying Male Pho above) and “Drawing the Bow below). (From Chiang Plingechien, Shu 744 cd) the ultimate tranquillity, that which is beyond time and change, the Great Ultimate, the Whole, the ‘mystery beyond all mysteries’, called by the Chinese the Tao. Artistically, the diagrams represent some of the most fascinating examples of Chinese abstract art to develop outside the imperial mainstream, which is what we know as ‘Chinese art’ today. They are as much a part of the legacy of Chinese art as the celebrated Shang and Chou ritual bronzes and jades, Han and T'ang pottery tomb figurines, Sung academic paintings and calligraphic scrolls, or Ming and Ch'ing dynas ‘We can see their influence in the symbolic abstraction of these other ‘eramics, visual arts. We can also clearly observe their traces in the techniques of various Taoist schools and secret societies which operated all over ina from the Han period onwards. These include astrology palmistry, physiognomy, geomancy, alchemy, herbal medicine, acupuncture, and the arts of movement (V/ai-chi chiian and kung-fu) The secrecy that has surrounded Taoist teaching arises partly from the taboo on the sacred ~ the mystic communication has to be pro- tected from the eyes of the uninitiated or irreverent ~ and partly from the historical need to protect the various cults from official hostility. Even today, talismans have been refused to non-Taoist, non-Chinese enquirers. The Secret Sources The present selection of Taoist magic diagrams, talismans and charms has been taken from the most esoteric of the 1,464 works preserved in the Tao-tsang, the 1436 (carly Ming dynasty) edition of the Taoist er Ming and Ch’ing dynasty manuals, The Tao-tsang, first published about aD 1190, was originally an even larger collection before its burning was ordered by Kublai Khan of the Mongol (Yiian) dynasty in 1281 In its present (early Ming) form the collection consists of seven different sections (‘caves’) with than fifty million characters of text and several thousand Supplementary diagrams were added in the Ming period, but the vast canon, and arious supplements, contain majority of those printed are ancient canonical forms, belonging to a tradition of occult art over two thousand years old, the roots of which go back to shamanistic practices in the second and first millennia 1¢ The shaman is a person who has acquired techniques which enable him to contact the spirit world, and, specifically, to summon spirits His power and prestige largely depend on the number of spirits he canvoluntarily incarnate in himself and thereby control. He may be aided by songs, dances, drums and, frequently, narcotics There was a limited tradition of these practices in Taoism, particu larly in South China, but more frequently Taoist magic used talismans and charms which became impersonal repositories of power. They were impersonal in the sense that, once the talism nic calligraphy had been completed by the Taoist priest, who would usually reproduce a canonical prototype, all his spiritual power was immediately trans- ferred to the talisman. It was then used by the individual as a kind of ritual object to retain his direct contact with the spirit. A profound belief in the spiritual powers of calligraphy was very probably already present even in the formative period of Chinese civilization (i. during the first millennium ac), and was largely responsible for the survival of the Chinese ideographic script. For itis significant that, despite several attempts at reform, the Chinese civilization has always shown reluctance to adopt an alphabetic script. In order to protect the talismanic ‘mystery’ a number of beautiful secret scripts were evolved by Taoism; how they arose and in what way they differ from ordinary calligraphy, we shall see later in the introduction, when we look at the magic power of calligraphy The diagrams as they appear today were the work of a wide range of artists, including illiterate villagers, recluses and hermit-scholars, as well as Taoist exorcist-priests, faith-healers, and sorcerers. Most of them are anonymous, for the powerful talismanic forms are rarcly attributed to particular individuals, and the legendary attributions of the Taoist canon must be treated with reservation In their original form, these diagrams were the most perishable visual art products of China. Some of these mystic diagrams were originally drawn in the dust with a wooden stick or a finger, others (after Han times) on paper to be burnt as ‘paper-moncy" offerings to the forces of the supernatural. These notes of ‘paper-money’ were reproduced many thousands of times in the course of a single genera tion, only to be used for a single day in a given hour of the magic rite The highly perishable material of which they were made was itself a constant reminder of the cardinal Taoist teaching: the principle of ns the whole universe. Indeed, most of Eternal Change which gov: them have disappeared along with the voices of the famous ancient singers and the movements of celebrated Sui and ‘T’ang dynasty dancers. Yet, they have not been completely lost. Outstanding ex- amples have survived in Taoist canonical sources, and even today are being copied closely. A number are to be found among the illustrations of this book5 6-10 of time since before 1000 Bc. A measurement of both days and years, it is formed by revolving a cycle of ten characters, representing the Ten Heavenly Stems, with one of twelve, representing the Twelve Earthly Branches. The ten Heavenly characters arc: chia, i, ping, ting, wu, chi, keng, hsin, jen and kuei. The twelve Earthly characters are: f21, civ’ou, yin, mao, ch’en, ssu, wu, wei, shen, yu, hsii and hai. The duodenary system has also been used on its own to designate the twelve months and the twelve double hours of the day, starting at 11 p.m. In addition, there is a number for each person determined by the characters drawn from the cycles marking the year, month, day, and hour of his birth Taoist occult theory correlates these two sets of characters with the workings of the Five Elements, colours, seasons, etc. The following passage from the Pao-p’u tzu, a Taoist work of about Ap 300, explains this concept: ks of protective days, it means a continuation of and the Ten Heavenly Stems in which the first the Twelve Earthly Branch nt begets the second. Days chia-wu (no. 31 of the 6o-cycle) and issu (no. 42) are examples of this. Chia is Wood, and wu is Fire; i too is Wood, and sau Fire, Fire being bom of Wood. When it speaks of proper days, it means combinations where the second element begets the first. Jer-shen (no. 9) and kuei-yu (no. 10) are examples of this. Jen is Water, and shen is Metal; kuei is Water, and yu is Metal, Water being born of Metal. By constraining days it means combinations where the first element conquers the second. Wu (no. 25) and chi-hai (no. 36) are examples of this. Wu is Earth, and t2u is Water; chi too is Earth, and hai Water, and according to the theory of the Five Elements, Earth conquers Water. By attacking days it means combina~ tions where the second element conquers the first; chia-shen (no. 21) and ino. 22) are examples of this. Chia is Wood, and shen is Metal, i too is Wood and yu Metal, Metal conquers Wood. From these examples one can deduce the rest The notes to the talismans which follow contain frequent references to this cyclic system, which is by no means as complicated in its practical application as it appears in the passage quoted above. For example, ifa given year, month, day or houris linked with the element Water, this signifies that a good deal of rain may be expected during the period, while a dominant clement of Fire would indicate a hot spell and also an increased risk of fire breaking out. The choice of lucky and unlucky days, which features so prominently in Chinese divina- tion and farmers’ almanacs, is only one of the practical extensions of this yin-pang and Five Elements theory Yin-yang numerical system, as shown in the table above, also played a prominent part in Taoist magic. As we shall sec, a large number of talismans were used in sets of threes, fives, nines, etc Among these, the sets of fives were considered particularly powerfulLK] o— Magic talisman to bring because they acted on the Five-Element space-time factor of the cosmos with associated symbolism of colour, smell, taste, sound, etc. Inspired by the philosophical doctrine of the Five Elements, popular Taoist spiritualism showed itself remarkably practical again: the multiperceptual contact with the spirit world opened up additional channels of communication with the spirits, making use of all the s of the human body Of the heavenly bodies, the sen’ diant Sun represents yang and the silver Moon, yin. To reinforce yang, Taoist magic prescribed sun- bathing in the nude for men, who were instructed to hold a talisman (a secret character for sun written in the yang colour, red, on green paper). Moon-bathing in the nude was prescribed for women to reinforce their yin, and they too were to hold a talisman (a secret , black, on yellow paper). Constellations too, according to the principle of the har character for the moon written in the yiit colou monious (yin-yang) unity of heaven and earth, guided and influenced changes on earth, Hence their frequent appearance in talismanic graphic compositions and secret diagrams. They are often represented symbolically as convoluted stones and rock-formations. Vital Breath Chi, the Vital Spirit, fills the world of the Tavist. It is the Cosmic Spirit which vitalizes and infuses all things, giving energy to man, life to nature, movement to water, growth to plants. It is exhaled by the as clouds and mist and, th mountains, where the spirits live, efore, the undulating movement of clouds, mist, or air filled with smoke ristic mystic representation rising from burning incense, is a charac "iin Taoist art. As the Universal Force or Etemal Energy, it is at the centre of Taoist breathing exercises, which also involve the art of smelling and the use of incense. In occult diagrams it is the reason for states: ‘Man the preference for asymmetrical design. The Pao-p'u (2 exists in ch’i, and ch’ is within man himself, From Heaven and Earth to all kinds of creation, there is nothing which would not require ch'i to stay alive. The man who knows how to circulate his ch’i main- also banishes evils that might harm him.’ tains his own person an The same source mentions a method of casting spells by simply breath (ci'i) more abundant. The Taoist Chao Ping used to -vel dropped as much as renderi charm streams by breath so that the wate e same technique, he would light a cooking-fire twenty feet. Usiny on thatched roofs without setting light to the dwelling, render boiling water harmless for scalding and prevent dogs from barkingTaoist mystics also conceived of ch’ as the invisible underground currents of the earth. Geomancy (feng-shui in Chinese, meaning ‘wind and water’) was born out of this concept. It was concerned with the art of fixing the sites of houses for the living and tombs for the dead ch’, the Cosmic Energy in mystic harmony with the local currents of Traditionally, if houses and tombs were not correctly sited, evil effects were likely to befall the inhabitants of the houses and the descendants of the dead, whereas a good siting would bring them happiness, prosperity and longevity. The forces and nature of the invisible «li were determined not only by currents, known also as ‘dragon's vein mountains and hills (yang), and valleys and watercourses (yin), but also by the movements of the heavenly bodies from hour to hour and day to day all round the year. The yin and yang aspects of geomancy currents were also identified with the Tiger and the Dragon, which in tum represented the western and eastern quarters of Heaven. Asa rule, a three-fifths yang and two-fifths yin balance was thought to be the most favourable. A magnetic compass marked with trigrams and hexagrams of the I-ching, as well as with the sexagenary cycle of stems and branch suitable site. Compass references have been indicated in the notes on some of the talismans illustrated later in the book But ch’ also meant sexual energy. The yin-yang theory held that the sex organs were a major vehicle of the primary forces of the universe, . aided the complex reckoning for the selection of the and looked upon sexual intercourse as an act charged with Cosmic Energy. The schematic symbol of yin and yang is a circle divided into line, with the lower, or female half dark, two equal parts by a curv and the upper, or male half light. The Earth, woman, and the vulva The union of these are all yin, Heaven, man, and the penis are alll yan, opposites leads symbolically to the harmony of the universe. This also ve that Heaven and Earth consummate means that it is possible to bel their relation each time a man and a woman perform the sexual act. The prolongation of this act, therefore, becomes a magic ritual. Hence the frequent references, both symbolic and explicit, to the union of the xes in Taoist magic rites, according to which there were opposite lucky and unlucky days for intercourse, favourable and unfavourable directions and positions in which to lie, etc. There was also an early Taoist ritual known as the ‘deliverance from guilt’ ceremony which took place on the nights of the new moon and the full moon. It con- sisted of a ritual dance, the ‘coiling of the dragon and playing of the tiger’, which ended in successive sexual unions in the assembly. It was censured in a pre-T’ang Buddhist document on the grounds that ‘men and women have sexual intercourse in an improper way as they makeno distinction between nobili hich testifies to the egalitarian nature of and commoners’ ~ a piece of con temporary social criticism w/ Chinese Taoist magic Bodily yin-yang and Alchemy Man’s own body is also governed by the principle of the Great Ultimate (Pai-chi), yiney when yin and yang were for and the Five Elements. Traditionally, J out of the primordial chaos, yang, being light, went up to form Heaven, while yin, being heavy, de- scended to form the Earth. This idea is repeated in the composition of the human body, with the head as Heaven and the feet as Earth. There isa spirit in each part of the body corresponding to the structure of the universe. The five organs have their ruling spi s, the upper parts of the body contain the yang spirits of Heaven, and the lower parts accommmodite the yin spirits of Earth. At birth we are filled with the primordial yang and, as we grow, this yang waxes until, on maturity, it reaches its peak. But yin is also present and, as life goes on, yin increases and yang gradually flows away. When the balance of yin and yang is no longer effective, we die. Our breath, spirit, and seminal essence are all dissipated. But for the Taoist death is not a separation of the body and spirit as we conceive of it in the West. Itis rather a separation of the yin and the yang elements of man. Concepts of Taoist internal alchemy also appear in talismanic magic As we have just seen, the human body was considered to be endowed by Heaven and Earth with the ewo life-constituents, yin and yang n and li respectively. K They are symbolized by the trigrams b’. and [i are also the active manifestations of ch’ien (representing Heaven) their influences. In and k’un (representing Earth), thus symbolizing alchemical terms, ch’ien and k’un also represent the furnace (the ‘subtle fire’ of the body) and the crucible (the centres in the body where energy is transformed), while k’an and li are the ingredients combining in the crucible to form the clixir of life. Trigrams k’an and [i also stand for the sacred union of ch’ien and k’un, and that of yin and yang. This union is said to be the magic union of the solar and lunar influences, for in the I-ching, k’an and li represent the moon and These were the chief principles governing Taoist thinking, and the main purpose of the magic rites and ritual activities of popular Taoism, with its use of talismans and charms, was to win the blessing associated with yang and suppress the dark forces of yin. Finally, in accordance with the ancient principle of Taoist inner alchemy, certain post-Han Taoist cults stressed the idea of giving 15no distinction between nobility and commoners’ ~ a piece of con~ temporary social criticism which testifies to the egalitarian nature of Chinese Taoist magic Bodily yin-yang and Alchemy Man’s own body is also governed by the principle of the Great in-yang and the Five Elements. Traditionally, when yin and yang were formed out of the primordial chaos, yang, Ultimate (Pai-chi), went up to form Heaven, while yin, being heavy, de- scended to form the Earth, This idea is repeated in the composition of the human body, with the head as Heaven and the feet as Earth. There isa spirit in each part of the body corresponding to the structure of the universe. The five organs have their ruling spirits, the upper parts of the body contain the yang spirits of Heaven, and the lower parts accommmodate the yin spirits of Earth. At birth we are filled with the primordial yang and, as we grow, this yang waxes until, on maturity, it reaches its peak. But yin is also present and, as life goes on, yin increases and yang gradually flows away. When the balance of yin and yang is no longer effective, die, Our breath, spirit, and seminal essence are all dissipated, But for the Taoist death is not a separation of the body and spirit as we conceive of it in the West. Ivis rather a separation of the he yang elements of man. Concepts of Taoist internal alchemy also appear in tal anic magic. ave just seen, the human body was considered to be endowed caven and Earth with the two life-constituents, yin and yang. ams k’an and li respectively. K’an They are symbolized by the trig’ and li are also the active manifestations of ‘en (representing Heaven) their influences. In and k’un (representing Earth), thus symbolizi alchemical terms, ch’ien and k’un also represent the furnace (the ‘subtle fire’ of the body) and the crucible (the centres in the body where energy is transformed), while k’an and li are the ingredients combining in the crucible to for for the sacred union of ch’ien and k’un, and that of yin and yang. This and Ii also stand m he elixir of life. Trigrams k union is said to be the magic union of the solar and lunar influences, for in the I-ching, k’an and li represent the moon and sun. These were the chief principles governing Taoist thinking, and the main purpose of the magic rites and ritual activities of popular Taoism, with its use of talismans and charms, was to win the blessing associated with yang and suppress the dark forces of yin. Finally, in accordance with the ancient principle of Taoist inner alchemy, certain post-Han Taoist cults stressed the idea of giving 15Thner Alehemy, t 16 birth to a new man within oneself, instead of producing offspring extemally. This ‘infant’ represented the immortal soul which was finally spirit world. This inward concentration of life-forces, aided by talis ternalized when the soul left the mortal body and joined the manic magic, is symbolized by the image of the flaming ‘pearl,’ a frequent talismanic graphic component, representing the offspring of the union of k’an and li, the human and cosmic Energies enveloped in the fire of transformation. The Spirit World During the centuries of the Han and post-Han periods (i.e. from the second century 8c onwards), popular Taoism began to develop a large pantheon of the spirit world which numbered tens of thousands n'ing period, Both zoomorphic and anthropomor- by the end of the phic images, representing gods, spirits and demons, appear in this pantheon, They are drawn from ancient Chinese nature-worship, local hero-cults and ancestor-worship, and are so numerous that it would be impossible to list them all. The gods are divided into two categories: those of the Prior Heavens, and those of the Posterior Heavens. At the top of the hierarchy are the gods of the constellations i.e, the Prior Heavens, the abode of the transcendent and eternal Tao. ‘The Prior Heavens are exempt from changes and represent the mystic sources of life, primordial breath, and blessing in the world of the Posterior Heavens. The gods commonly worshipped by Taoists as patron spirits are those of the Posterior Heavens, where change does take place. They are divided into three groups: those of the Heaven, those of the world of nature and man, and those of the underworld ns. These three sections of the visible world hidden beneath the oce: are governed by the change of seasons and the continuously revolving complementary interaction of yin and yang. The highest of the Taoist divinities are the Three Pure Ones of the Prior Heavens. These are the so-called Primordial Heavenly Worthy Elder Lord of the Heaven, controlling the past; the Precious Spiritual Heavenly Worthy, Ling-pao, Lord of the Earth, also known as the Jade Emperor, controlling the present; and the Precious Divine Heavenly Worthy, Tao-te, Lord of Man, also known as Lord Lao, controlling the future. They reside in the three highest of the heavenly realms. The Three Pure Ones, lords of Heaven, Earth and Man are also lords of the head, the chest and the belly in man, corresponding also to primordial breath, spirit, and seminal essence. Of even greater antiquity than the Three Pure Ones are the Five6-10 Primordial Spirits, who also dwell in the Prior Heavens, but are summoned to Earth during rituals. These are the five spirit-emperors Fu Hsi for the East, Shen Nung for the South, Huang-ti for the Centre, Shao-hao for the West, and Chiian-hsii for the North. They are accompanied by their assistants or spirit-ministers, and are closely ments, as Five Direc- tions. The five great mountain peaks of China are considered to be the tions, and are thus connected with the workings of yin-yang and the Five well as with the animals and star-spirits symbolizing th special repositories of these spirits of the Five Dir symbolically treated as sources of the Five Elements. For example, Hua-shan is the dwelling place of the spirits in the west, and the source of Metal. All other spirits who rule the visible world (like the Three Star gods of Happiness, Prosperity and Longevity, or the Kitchen God) watch over men’s good and evil deeds and report them to the heavenly rulers for reward or punishment. In popular Taoism, the en and highest spirits commanding yang influences are resident in Hea provide life and blessing. The demons of the underworld are the spirits of men who have died violent deaths or committed suicide, or orphan souls lacking ancestor’s tablet or offspring. These bring mis~ fortune, sickness and calamity to mankind. Good spirits, on the other hand, are invariably thosc of virtuous men and women who worked on behalf of mankind (¢.g. as healers) during their lives, and who have become local cult figures after death so that their power and good influence should continue to operate. But in this Taoist spirit world ‘bribery’ exists as well as the power of accumulated ‘merit’: demons cen talismanic ‘paper money’, just as and spirits were symbolically the mandarins of imperial China were offered bribes in return for arly this is an indication of the effect of e use of burnt their favour or influence. Cl na’s mandarin society on the Taoist system ~ Ud y by over two offerings to spirits predates the use of actual paper mone thousand years, As a rule, gods worshipped at seasonal festivals and rites were only summoned at other times in the case of great disasters or calamities. In folk religion and in magic rites contact was primarily with the pirits and the kuei demons. lower level of the spirit world: the shen According to yin-yang theory, before death the yar soul is hun, and after death, it is shen. The yin part of the soul before death is p'o, and after death, it is kuei. Thus the yin part of the soul after death is usually associated with demons and evil. The kuei may also be part of a man’s the harmfal spirit of a man who has not been properly returned to earth in burial; a person, for instance, who has died by drowning. In 17fig. 4 many cases, people who have died violent deaths have kuei and not eon shen spirits. In Chinese mythology, they appear to seck vengear mankind for their unfortunate position. In some parts of China, however, they are regarded as patrons of gamblers and prostitutes, According to Taoist beliefs, the yin soul is divided into seven and is connected with the emotions, while the yang soul is divided into three and is responsible for human virtues. These emotions and virtues also casons, Directions, etc., as shown correspond to the Five Elements, $ in the chart above (p. 11). Thus man’s relation to this many layered Taoist pantheon, which already numbered imes, was farther complicated by the con~ spirit world of the popula several hundred in Han tribution of later Taoist teachings, mostly of sectarian nature, in the icine, etc. As a result, the Taoist fields of geomancy, alchemy, medi vocabulary of the period acquired fresh connotations, and the visual arts developed new dimensions of occult symbolism. These included eaven and the the esoteric significance of the unity of the round H square Earth; nature worship, from sacred mountains to indoor dwarf plants; the intentionally vague concept of cl’i, Cosmic Energy, and its ultivation, careful preservation in the body through Taoist scl breathing. exerc nd prolonged sexual intercourse. Thus the vocabulary of Taoist occult art was founded on the concept of multi- perceptual communication with the spirit forces of the universe, from which grew the notion that the arts should appeal simultaneously to el, and should include movement, a sight, hearing, taste and f& are traditions, which any particular artis principle alien to Weste expected to appeal to two of the senses simultaneously at most. The Magic Power of Calligraphy The magic power of talismans derived, as we have seen, from the fact that, according to Taoist belief, they were permanently inhabited by s men were able to communicate directly with spirits by The talismans themselves acted as mediums, and were to be treated with spirits. T means of these talismans without the participation of a medium. the greatest respect, veneration, and secrecy. The interdependence of the Taoist spirit world with the material world made the use of talis- mans much more significant than it would be to Western spiritualists, since spirits were believed to play a commanding role throughout the whole universe, and not merely in a realm of ghosts and supernatural constituted the basic essentials for beings. Moreover, talismar individual Taoist religious practice and worship, as well as for communal rites.Spirits by Ornamen 1 be writen om Bt bunt off ct of three in rounded lige day por Spoken charms and spells predated written and painted talismans in China as in other parts of the world. The composition of the , shows two Chinese character show, meaning ‘invocation of spir ‘mouth’ graphs at the top and a magic wand underneath, strongly suggesting the participation of two people, one presumably a medium, engaged in the task of invoking the spirits. Under shamanistic in- fluence, mediums seem to have played a very significant part in the mystic experiences of Chinese Taoists during the Han period and before. And talismans of particular power were believed to have been composed by those Taoist mystics who were able to communicate directly with the spirits Contemporary Han and post-Han sources invariably emphasize the unusual graphology of protective charms and spells received by the mystics from the spirits. They refer to various ‘cloud scripts’, archaic script forms, and commonly unrecognizable forms of script and graphic compositions charged with magic power which were secretly handed down by the early Taoist mystics. Some of these were written on peach-wood plaques, such as the Weapon-Averter seal talismans of the Chou period, measuring 6 by 3 inches, written in five colours, and placed on gates and doors during the month of midsummer. Others, like the post-Han Five-Colour Talisman, which guarded against pestilence and all kinds of illness, were in- scribed on paper or silk of various colours. Yet others were written on gold or jade tablets. In addition to black ink, red cinnabar was used for the calligraphy. The Red Spirit Talisman, for instance, which was wom on the body primarily to guard against death or wounding in battle, consisted of drawing in red cinnabar on vertical strips of yellow paper. The size of the written character or characters varied considerably : some, like the Enter-Mountain Amulets attributed to Lao-chiin to protect travellers in mountainous regions, were inscribed in specially large characters to fill the whole oblong plaque or paper strip. Others only had one or two characters written on them: the ‘Emperor of the North’, for instance, which afforded protection against crocodiles and insects, as well as winds and waves. Some combined a word of com- mand or request with semi-abstract representations of spirit moun- tains, constellations, or elements of thunder and lightning (to frighten demons). Others consisted of amulets about two inches square, carved from the pith of jujube and inscribed only with archaic seal-script characters: the Lao Tan Amulet, for example, which protected against tigers, ic. symbolically against the influence of the yin (female) element. More commonly, however, the talismans were oblong strips 19with written characters descending in a single or combined vertical form, rather than spreading horizontally. The strong esoteric influence of this strip-format is indicated by the fact that it has survived intact in the format of both Chinese and Japanese hanging paintings, par- ticularly landscapes, in later centuries Originating from, and inhabited by spirits, these compositions were treated with the utmost reverence. To receive their favour, one had to perform a brief personal introduction to them by name, bow to them at least twice and, if necessary, pronounce the prescribed incantation. When this ceremony had been performed, the talismans would be placed in garments, on doors or gates, or burned to provide protection, In the latter case, the ashes might or might not be con- sumed, according to the prescribed ritual. Although the talisman was craditi nally produced for the layman by an initiated Taoist priest, the priest was not required, except in the case of specially prescribed cures or exorcism, to communicate with the spirit world. On the other were transmitted hand, certain highly powerful talismanic formula by Taoist mystics from generation to generation in utmost secrecy Many of the examples illustrated in this book belong to this class. In a description of the contemporary use of talismans, the Pao. tzu (¢. AD 300) lists several forms much used at the time. Among these were some to be written in red cinnabar and worn by travellers in mountains and forests; others to be fastened on doors, corners, pillars ind beams, and set up at important road-junctions and public spots; others ‘to reduce to subjection’; and finally, the Charm of Universal Peace attributed to the tzu (sixth century BC) The uninitiated were of course unable to read these talismans and nding figure of philosophical Taoism, Lao- charms. The Pao-p’u tzu complains that no layinan could detect the errors in them although some were suspect, and various Taoist sources of later centuries ascribed the inefficacity of talismans to the use of asing use of calligraphic prevent the decline of mutilated versions or faulty copies. The in magic talismans by the fifth century could n old talismanic graphic traditions: indeed, it opened avenues for fresh visual interpretations, culminating in the flowering of Taoist art of the Sung period igic diagrams, talismans and charms required a secret language for their expression, a symbolism outside the scope of the ordinary graphic vocabulary of Chinese writing and painting. For this purpose, popular Taoism was able to draw upon the unlimited resources of the Chinese inventive genius, But in order to find unorthodox calligraphic expression, or to modify existing forms for occult use, the artist had tosolve an almost insuperable problem. The rules governing the use of the sensitive Chinese wr g brush, one of the most ingenious inven- tions of Chinese civilization, were rather inflexible. Strictly speaking there was only one way of writing a Chinese character correctly. The rales of the brush were admittedly more flexible for painting and for the so-called ‘free’ calligraphic exercises, in which the character was sometimes modified out of recognition. To fulfil his function, the tradi- occult artist had to stay either partly or completely outside th tional conventions of Chinese calligraphy which, for example, did not ac mmodate waves and curving lines, or circular forms in script. Hence c in ‘free’ calligraphic exercises, Some- emphasis on the: times, of course, the writer was an illiterate folk-artist, and therefore | already outside the tradition, so that his contribution to the vocabulary aman tobe of unorthodox expression was fortuitously non-conformist Sovereign, In red on white ape. ty be birth 20 isooofsecunces’ The Mystic Graphic Arts Taoist philosophy has been called at the same time scientific and ‘aoist talismanic mystical. And this applies equally to the magic art of composition. But the graphic styles of the diagrams clearly reveal two categories of inspiration: some display an acquaintance with brushed calligraphy, or incorporate elements of it; others simply do not show any relation to, or influence from, the conventional technique. In the second category we find imitations of wood-carving and needle~ 69 work techniques at one end of the spectrum, and, at the other, the 22, blood-stained impressions left upon the paper by the cut tongue o! medium. These bloody marks represent the words of the spir and the utterances of spells by the medium. [tis also an example of the ‘es of the creation of new talismans by means of the mediumistic prac Spirit Cloud (shen-hsiao) Sect of Taoism, which dates back to the Heian These practices have survived until the present day in Hong Kong Taiwan. M. Saso, in his Taoism and the Rite of Cosmic Renewal, has an illustration of a half-naked medium cutting himself with a sword of the Northern Sung dynasty nd o reign period (AD 1119-26) while in trance, and carrying on his back a talisman dipped in blood ‘The variety of occult graphic compositions is enormous, ranging from the spontaneity of trance-drawings to the meticulous draughts- manship of pseudo-scientific diagrams and magic charts. However the technique of execution remains uniformly unsophisticated, jacking the subtle texture strokes of academic painters. But # Northem Sung School and the School of Literati (werrjen) of the Yiian period accepted some of the principles inherent in Taoistfig. 18 graphic art, together with its mystic values, and thus from the Sung period onwards, inspired calligraphers and painters were generally regarded as people able to communicate with the spirits. As a result, the spiritual cult of calligraphy (and painting) long venerated by Taoists, became firmly established beyond the boundaries of talis- manic graphics Furthermore, talismanic calligraphy included other means of s of the supernatural: first and fore~ symbolie contacts with the po most, the elements of magic dance. As an art of movement, dance symbolized the principle of change. The magic dance of the red to in talismanic legendary limping Emperor Yii is often compositions, These movements which were taught td Yi by heavenly spirits to give him command over the spirits of nature, originally represented a kind of hopping dance that Taoist shaman sorcerers often performed while in trance. But the Taoists were primarily concerned with the magic power of calligraphy, and con- sidered its eff sorcerer’s feet in dance, a line which reproduces a vortex, a spiral of ctiveness to lie above all in the line traced by the magic, frequently reinforced by constellations. What are the chief merits of this Taoist graphic art? First of all, we find that it provided the foundation for a high level of abstraction in Chinese art as a whole, creating forms of a primarily graphic nature for the basic concepts of Taoist teachings, which were metaphysical, rather than ethical, embodying such concepts as Change, Movement, and Energy. Ancient China’s lack of epic tradi- tions ensured a fertile soil for this abstract symbolism. It penetrated artistic life beyond the visual, influencing the arts of movement, for and music. As Taoist graphic art recognized no lines of demarcation between the real and the imaginary, it could appeal equally to all, from the philosophically minded to the least sophisti instance ctive use of the imagin: ed, although at very different levels. The abstraction was the cardinal point in this type of tion in interpretin Taoist art, and still survives in many areas of Chinese art and literature most bare stage is In traditional Chinese opera, for instance, the filled in by the imagination of the spectator. traditional In addition, Taoist occult artists developed the basic grammar of a superbly rich artistic language designed to symbolize and embody continuity of form (i.e. material reality) in space (i.e. imagination) Through observation of rolling clouds and mist, undulating waves, rising vapour and smoke- the most intangible of all phenomena - they r representations for Change, Movement, and Energy. established lit The basic grammar of this artistic language constituted a unique formPrim 7 form of Di Withou 39,40 of rhythmic linearity, uniting the perceptible ~ the pulse beat of the human body — with the invisible ether of breath and spirits. This in the decorative Taoist-inspired abstract linearity is already to be see arts of the late Chou period: in bronzes during the sixth and third he third centuries Bc; in the lacquer of the Chang-sha type of century 8; and in silk and painted pottery designs of the Han period. CCurving lines which at first allowed man to contact the spirit world, later took on the opposite function in popular occult art: namely they were the one way to outwit evil spirits who can move only in a straight line! This graphic art of the occult also helped, in a typically Taoist fashion, to establish the significance of ‘no statement’ which enables one to make a statement. It created the mystic as well as the artistic framework to blend ‘statement’ with calligraphic ‘emptiness’ in the true complementary manner of the magic interaction of yin and yang. Thus ‘emptiness’, or ‘no statement’, becomes a statement in this art; inty in real life, the vagueness of destiny, or the obscurity of the future. The a mystic statement, skillfully representing the elements of uncert musical pause, the momentary stillness in dance, or the enclosed emptiness in calligraphic composition or painting, all become an inseparable part of the whole, just as the negative yin or the positive yang alone cannot form a complete interlocking symbol of the two, representing the Great Ultimate Taoist graphic art also produ which went well beyond the ordinary limits of the visual arts. This repertoire of symbolism had a metaphysical significance which was applied alike to Heaven, Earth, and mankind. It sought to unite men iced a system of symbolic multiplicity and spirits into a single state in emulation of the perfect harmony of yin and yang, or of Heaven and Earth, Thus we find that the cavities of rock-i lanterns. Similarly, the footpath marked out on the Taoist pilgrim’s formations also symbolize stars, which in tum represent guide-map to the sacred mountains becomes a magic line on the chart to find the spirits. On another level, the ‘sound’ of blue jade lends its colour’ to the sky, and phallic diagrams become ‘Heavenly Cures’ To make matters till more complicated, the world of imperial China was also incorporated into the Taoist system when, for example, the term for summoning spirits, ‘induce to come’, took on the additional mandarin meaning: ‘by imperial order’ The Taoist practice of using intimidatingly vivid colours, however, ¢ fine art. Such was never taken up by the academicians of Chin colours, which were also used in the related art of paper-cuts, directly reflected the colour consciousness of the yin-yang world of symbolism,fig. 66 besides expressing the inherent desire of the Taoist occult to create a differ colours and colour-combinations — characteristically Chinese reds, ent art, suitable for communication with the spirits. Talismanic yellows, greens, and blues — contributed to the splendour of popular Taoist festivals in the decoration of streamers, banners, kites, lantern brooms, baskets, parasols ar Ta the shamans fans, all of which were employed in brooms were traditionally t magic rites. Of these, regarded by as magic implements to sweep away evil spirits. The long, shapes of the streamers and strip-banners indicated talismans with their inscriptions and symbolic designs. And their movements in the wind, which would cause them to show or hide their inscriptions or designs with each gust, symbolized the uncertainty and suddenness of man’s contact with the spirits. Similarly, the flash of the ancient bronze mirrors, which was supposed to signify lightning and thunder, also represented this moment of spiritual contact, although these mag preted according to popular occult phenomena were later reinte tradition as no more than functions of exorcism. Some Taoist sects, -y much aware of the concept of the momen- tary spiritual experience, vision, insight or inspiration, and brought it n (Zen) Buddhism prove sufficiently however, remained v into the foreground to meet the challenge of Ch’a in Sung times. Occult Taoism nevertheless did n fiexible to make much of the Buddhist concept of Enlightenment: its morphosis familiar to followers turned instead to the world of met the West in the form of Chinese ghost stories, and placed increasing emphasis on the concept of immortality To return to the ritual objects used in Taoist popular festivals and communal rites, the flickering lights (yang element) of lanterns were to guide the spirits to the altars during seasonal rites at night (the yin period). The colourful parasols provided shade (yin element) against lating its yang influence. The movement of Energy; while baskets of flowers the burning sun, thus regi fans brought currents of ch’i, Vital g ‘regulator’ in man’s nd chants combined with talismans to give multiperceptual contacts provided the various scents — another yin- communication with the spirit world. Spoken charms, spells, with the spirits over and above the visual art of calligraphy Making Talismans In order to assess the early popular Taoist concept of talismans, one should note that the Chinese word for talisman, fu, originally desig- nated written tallies or contracts. In Han times, talismanic charms attributed to the inventor of magic charms, Chang Tao-ling (firstonsultation ofa it rom Consultation of the magic fury illstetion century Ap), also known as Chang T’ien-shih or Heavenly Master Chang, the legendary founder of the Heavenly Master Sect, repre- sented a kind of contract made with the spirits. As such, they were looked upon as important documents of contract to be carried on the body to provide permanent protection. They guaranteed command over the spirits whenever it might be required. This popular Taoist of belief, indeed, prevailed alongside the more profound mystic philosophical Taoism for centuries. The use of ‘protective contract’ talismans appears to have been universal, but popular Taoism favoured the use of specific talismans as well. In fact, the ever-increasing variety of printed talismans from the Sung period onwards proves their immense popularity. Even up to the present day, an estimated two million talismanic New Year prints are marketed in China annually. There are over three thousand basic talismans preserved in the monumental compendium of the Taoist canon, with several hundred other magic diagrams and charts. These examples provide ample material to enable us to analyse the art of making talismans as well as their underlying graphic principles ‘As we have seen, the use of talismans was governed by the yin-yang Five Elements theory, the complex doctrine which taught that men were able to influence the processes of the universe by their participa~ tion through magic (as opposed to the teaching of religious acceptance of Confucianism and, to a large extent, Buddhism). In the course of the centuries following the Han period, this system acquired lavish accretions from folk art and festivals, to such an extent that, by the seventeenth and eighteenth centuries, it became practically impossible for the uninitiated to observe the outward signs of it correctly. In fact, outsiders were hardly aware of the complex esoteric preparations which preceded the performance of Taoist occult rites. Only recently rst time. These provide have reliable accounts been published for the fascinating information on the precise timing of Taoist occult rites, including the making of talismans. For example, after the day and hour of the ceremony had been determined by an astrologer in accord ance with the temple’s geomancy and the nature of the festival, a list was drawn up of those people whose presence would be inauspicious to the occasion. This was because their eight characters (i.e. the cyclic double characters for year, month, day, and hour of birth) would clash with the day. In fact, their presence would not only be an expression of dis~ respect, it might also incur the actual hostility of the spirits jements governing the auspiciousness of the chosen In talisman-making, the timing was equally important. Talismans of Chung Kuci, for example, the popular devil-catcher whose cult26 goes back to T'ang times, had to be composed on the day of his festival — the Fifth Day of the Fifth Moon the wu hour of that day, ie. between 11 a.m. and 1 p.m. but preferably during Among a host of similar examples we may single out the practice ¢ making medicinal talismans by Taoist The treatment of an illness included chanting the name of a particular ctors (known as chu-yu-ko) healing spirit whi of this p: to be efficacious whether swallowed or used externally. The doctor acing the charm or talisman on paper. The ashes per, mixed with the appropriate ‘carrier’ drug, was believed had to be familiar with the spirits of all the thirteen branches of Taoist medicine (namely, the greater veins, winds, arrestives, external infec- tions, swellings, mouth and teeth, eyes, ears and nose, obstetrics, external injuries, external wounds caused by metal weapons, acu- pu curative areas, and appropriate charms. In addition, he was required to are, and pediatrics), as well as their related diseases, principal omantic codes for establish his surgery. This had observe specifi to be spacious and far away from the kitchen and living quarters of the house, In the centre stood the altar for the spirit of the Yellow Em altar for healing spirits, whose names were written rot with his image hanging above it. To the left was a second nk on red paper, and to the right was the altar of Lao-tzu. Before all three were con tainers with offerings of ripe fruit and flowers. The most important feature, however, was a low square table specially installed to hold the implements necessary for writing charms. On it would be laid out seeret Taoist talismanic writings, papers of various colours, brushes, cinnabar, ink, and clean water. The procedure in the treatment of the sick was as follows: after the patient had told the Taoist doctor his symptoms, he was led to the image of the Yellow Emperor where he (or his representatives) burnt incense and bowed formally four times. The doctor then recited the water incantation, the cinnabar incantation, the ink incantation, the brush incantation, the paper incantation, the incantation for writing the selected charm and, finally, the incantation to summon the spirits of the appropriate branches of Taoist medicine involved in the case r this, the doctor painted the charm, at the same time silently repeating the Yellow Emperor's chant for healing. When he had finished, he wrote the two characters chih ling, meaning ‘induced to come’ or ‘by imperial order’, on the top of the paper and placed it on the altar. Then having sprinkled three drops of water on the ‘Summon the Spirits’ charm, he took a mouthful of water and sprayed it over the talisman he had just painted. After making the healing spirit incanta~ tion, he rose, clicked his teeth three times to mark a pause, bowedi AU prolong ie. (Ea formally, picked up the talisman and retired. Finally, he wrapped the talisman in white paper and gave it to the patient with instructions on how to burn it (i.e. how to send it to the spirits) and what additional drugs to take. The patient would then take the talisman home in his ag) hand. Equally elaborate was the procedure for making the magic peach- wood wands used in trance-drawings. In this type of talismanic com- position (more often found in South China), the drawing was traced on a thin layer of sand or rice spread on a table, The medium some- times took the wand in both hands or, alternatively, allowed one hand to be held by a person wanting to establish contact with the spirits and record the talismanic message. The drawing might later be trans- ferred to paper, particularly if the diagram was proved to be suffi- ciently powerful. The peach-wood was usually cut from a twig growing on the east side of the tree, since the peach was associated with the immortal paradise of the Queen Mother of the West, and this arrangement therefore symbolized the union of East and West. On ing ‘Spirit of the Clouds the side oppos (yin) would be cut in the bark of the tree. As implements of automatic e the twig, characters me: writing, these wands were regarded as especially powerful and were frequently used in exorcism, as were peach-wood calligraphic swords. According to popular Taoist belief, the instruments used for writing they were talismans and charms were themselves so powerful tha capable of defeating not only ghosts and evil spirits, but also hostile animals and men. Talismanic Language Five basic colours were traditionally used in paper charms and talis- mans for, since spirits moved in all five directions, a suitable colour ot combination of colours was needed to control them. Yellow repre: sented the Centre, blue the East, red the South, white the West, and black the North. Of these, red w: symbolized blood, the life-force, and was considered to have supreme especially important in that it also magic power. Red talismanic paper protected the whole family from pestilence and ills, The belief that red brought good fortune and long life is indicated by the extensive use of red cinnabar in Taoist alchemy in perpetual search for the clixir of life. The prevalence of cinnabar-red carved lacquers in popular Taoist magic art can also be linked to the magic powers of red, since they are frequently adorned with benevo- lent talismanic inscriptions. In view of the auspicious meaning of red it is easy to understand the popular appeal of this colour when it Eobecame the symbol of a political movement in China, as was the case with the Chinese Communist Party. Again, one can better understand Red Guard demands in recent years that red should be the ‘Go’ colour at traffic lights, instead of green. The widespread Chinese superstition about destroying any kind of paper is certainly connected with the talismanic use of paper in Taoist occult practices, For paper has always been a relatively cheap and easily available material in all parts of China. Talismanic language required, first and foremost, a visual statement of the unity of Heaven above and Earth below, and this was expressed in the verticality of the composition, whatever the differences of detail. In early Taoist symbolism, thin lines represented Heaven and thick lines Earth. In later centuries, a rounded style of calligraphy was used to indicate yin, no doube deriving from the clouds which repre~ sented that aspect. On the other hand, a squarish style of calligraphy indicated yang, referring presumably to hard, angular rock-forma- tions. Therefore, the ancient Chinese symbolism of the round Heaven and square Earth did not apply to talismanic graphics. On the con- trary, the rounded, soft style was yin, the hard, squarish style, yang. Dots, either connected by straight lines or not, represented stars and constellations. In combined compositions, these appear in the upper, celestial half of the talisman. Such visual referenc frequently to be found in charms against demons, for as well as dispensers of felicity to the stars are stial deities were powerfull destroyers of spectre Hence, too, the visual reference to constellations in terms of cavities of rock-formations, re-emphasizing the unity of Heaven and Earth. In other instances, constellation dots outline human figures and convey a bizarre, almost fu Armour of Man talisman of Sung or Yiian date, where the image is strangely reminiscent of a twentieth-century spaceman. Ascending and descending lines found in various types of talismanic to the invisible lines of contact stic mood of expression, as we can see in the calligraphy are another referen between celestial spirits above and terrestrial beings below. This concept of linear contact is very close to the shamanistic symbol of the Tree (axis mundi) which was said to be the home of the spirits permitt- ing ascent to the various heavens or descent to our world. The lines occur with surprising regularity in all kinds of talismans. When broken, they resemble the shape of the Chinese character for ‘bow’, and this has resulted in another false interpretation by the uninitiated of later centuries, who taught that the character had been incorporated into the talismans because the bow was a weapon especially feared by evil spiritsThe vortex, or spiral of the ancient Taoist Cosmic Energy, which is the dominant sign of the celestial upper half of the talismanic com- ¢ of the most ancien charms preserved in the P. positions in som tzu, was later believed to symbolize thunder and lightning —a result the growing infiuence of a great variety of thunder-and-lightning 1 by popular Taoism in post-Han times. gods invent Since talismans and charms were believed to produce whatever con- dition they expressed, Taoists invented a great variety of them, in particular, characters which express the blessings of shou (longevity), and fu (happiness). Archaic and fanciful talismanic representations were produced for them in a hundred different forms, and used by to silk em- way of decoration on all sorts of objects from lacqu broidery. Written characters d ing it, likewise appeared reg frustrated evil. Talismans also contained threats and commands noting felicity, and therefore produc arly in charms on the grounds that they directed at evil spirits. Among these, we find the character sha (to murder) with great regularity. Another powerful character for charm- writing is cheng, which denotes the Order of the Universe, before which all evil influences must disappear. Ic is frequently accompanied by chih, also meaning ‘order’, so that the charm enjoins good be- cordance with the Order. By no means le: haviour on evil spirits in powerful and frequent are the characters for Sun and Moon, which are often combined to form the character ming, meaning lig devil-destroying power with huo, fire. A very prominent position in talismanic graphics was held by ting. the fourth of the ten Heavenly characters, which represents South and, exagenary therefore, the devil-destroying clement of Fire. In the cycle ting recurs six times to perform its exorcising function, hence ting is written six times in some talismans. A similar part is played by t 1 East where the devil-destroying Sui e first of the ten Heavenly characters, which repre Talismans were of course inscribed with the names of benefactor and protector spirits. But even more extensive was the use of the Frequently in frag- rough drawings supposed to be portraits of go rm, with only an arm or leg indicated, their magic effect mentary as even stronger, When such talismans and charms were satisfactorily roasted, was regard burned, the demons were believed to be most tortured, and killed. For such important talismans, the gods were y chosen from among Generals of the Celestial Armies, ed to gods and spirits spe Sentences in ordinary Chine : writing dedica to station themselves on certain spots to prote ese, one finds commands like t people feature in a good number of talismans. Among ¢ 29Planet Jupiter take station here’, ‘Li Kuang shoot your arrows this way’, or ‘This is to order the Dark Lady of the Nine Heavens to stop murderous influences’ Lhe Taoist Vision Taoist magic offered man an inner vision to help him communicate with the various spirits that inhabit the body. But since the body is a microcosm, all these interior spirits are also spirits of the exterior world, By the use of talismanic calligraphy, the Taoistis able to extract the cosmic emblems from within, and project them around himself sonal image of the uni- as if forming a meditative mandala — his p. verse, with himself at the centre. This image is sometimes reduced in talismanic magic to a mere circle representing the Whole, the Great Ultimate, the ultimate substance of Tao: emptiness. It is in perfect equilibrium, and nothing can harm it. It takes no initiative, to produce either happiness or disaster. The spirit of philosophical Taoism remains the most important st mystic ingredient in the occult use of talismans. This idea is summed up in the words of an eighth-century Taoist source, the Kuan-yin t2u Being is Non-Being and Non-Being is Being; if you know this, you can control the spirits and demons. The Real is Empty and the Empty is Real; if you know this, you can see the stars even at dawn. .. . If you unite yourself with all things, you can go unharmed through water and fire. ... Only those who have the Tao can perform these acts. Better still not to perform them, though able to perform them, Indeed, talismanic magic was all this in essence. In practice, it provide the link between popular Taoism and Taoist philosophical mysticism. In the application of occult ideas, it harmonized sectarian views and teachings without necessarily discrediting any of them, or creating rivalries, Talismanic magic art encompassed the symbolism of the noise of the fire-crackers in popular spirit festivals as it did the silence of the Taoist hermit’s meditation, recognizing both as ways of spiritual communication. Thus meditational inactivity existed happily alongside the vigorous dance movements within this frameless and endless system of multiperceptual symbolism, in which even time and space could be dissolved. For the true mastery of this magic art the understanding of Tao is needed: the understanding of the process tion of experiences, spiritual and human of change, the harmoni alike, which in the final analysis cannot be encompassed by a single act of willThe Platesensif 7 BRi AKAAes: BRIEary eK atPlates 18-30 As testimony to human anxiety, Taoist magic is much concerned with immortality, or at any rate with the desire for a long and sexually active life. The lif alismans of Ling-pao, ‘Spiritual Heavenly Worthy’, Lord of Earth, represent some of the most powerful charms in this group, all of which are executed in a characteristically bold and heavy graphic style. These life-giving talismans seem to have been used in ma different ways, including even in burial ceremonies (plate 19), but they all relate to a spiritual power which was closely connected with the ancient cult of the Earth Spirit, Birds (later more specifically cranes) represent long! ‘occult tradition, hence their frequent appearance in talismans, often in shorthand form, for instance as bird-heads. ‘These are the forerurmers of the mystic Bird Script of talismans of later periods. 18 Talisman of the Armour of Earth, corresponding symbolic animal Tiger, with yin receptacles (the female Eight ren (Hee) characers surround 3 dacs sgn Grain, ho fn ) emphasized. To be used der for evi, or the sous of men who have not the Centre Of Heaven. Its punted bolic animal Rat, zodiacal sgh Aries hous tec properly returned to the earth bursed on 3 Yellow ground. At 11 pm. to 1 am, and pount of compas burial (Tao-tang 85:16) tributed to Lingepao. (In an carly 12th North S the Vital Energy of century work by Lin Ling-su,Teo-teng io re North. Black on 3 white 9 Bold’ Taoist taismanic calligraphy 461; reproduced here from Te-ttong $43 ground. Attributed to Ling-ps._ (van symbolizing Earth combined with ‘com 4020 Tatheentury work by Lin Lings Stllation holes ic. Heaven. Ie wat re 1 je Bed ng 405; reproduced here ftom Tao- Eotim of Duke Teng of the Han petsod, Supreme Taoks, where Vital Energy give Fan ree ithe carkee taeretee Berahiy IME to the spirits i reputed to have the 28 Talisman to vitaiz 0 be Reproduced from the Futon ch rom the period ofthe Six Dy Tate 1gth century fsa 43:58) East) and tenth Twelve Exihly Branches + Vital Energy ofthe radi Su brushed comy whi an be read (Perox - ‘Moon. Blu on a white ground. Attribute 8th century; diagram, Sung date, Tac ih name SiS 9 ais © : be used under the sign of the third sign of the Centre, i,¢. Earth the cut tongue of the medium. Attributed century: wosk by Lan, Lingaaus T ‘tr2ab) a, 21 Four magic formulae to ward off vil (yin) fluences ate combined in the cheeentury work jo3; reproduced here from Tuo-ang $43 Tingess, Teor 463~268:1b srs) italize the blood. The ia coiled snak 1 to vitalie the tongue. Ie is to 27 Talisman to vtalize the kidneys (kid i pao. (In an carly 13th- under the sign ofthe third br ys symbolizing the female wx organ feat, Tao-tang Twelve Earthly Branches, with LImRARY Ty OF RIGHM! VIRGINA = oN 5° ‘univeraa TS SAPNA ae |Plates 31-41 The movement of air, and the rising smoke cense and burnt paper talismans, represent ceaseless change and cosmic energy (ch’i) ~ the ding force in Taoist magic. These highly abstract compositions ye a characteristically thin and refined linearity. ‘Their broken (yin) or continuous (yang), rounded (yin) or an or a combination of both (plate 36). Although they are of widely different esoteric functions, ranging fiom charms for summoning spirits (plate 31) to medicinal talismans (plate 40), they are all related to Heaven, th yang partner of the yin Earth. This linear talis style had a nes can be wr (yang), marked influence on the free calligraphic exercises of convention: Chinese art. The majorit painted with the brush. Most of them are derived fron ma mediums on sand- or rice-tables of them, however, were not originally drawin sb 31. Spiricinvoking ester ms light and lve formed! by lines of blue and red. The human kind diagram gn the tight invokes: “the Im- tmortas ofthe Great Paradise, the Supreme 35 Talisman to purify Heaven, the Five Sacred Mountain, the busned us Four Great Rivers [Yat Hisai and Chi. the. Toe the principles of tury work by Lin Lingesu, Tao-tamg $8 ind, 10 be 38 Jade Talisman of Supreme Ruler One haracters of che Great Cave, in rounded (yin) call Yellow Ri hich may be translated as follows: Spirit graphy. It embodies the turbid torrent of je Sources of of the Divine Ruler of the Red Palace, fhe'whirlpool of che female esence, and preme Heaven, the Feathered and Flying sky the sweet dew seis quickly to form ted 32:74 at the Chine New Year, This type 9 Tk cle uh, lh fe 56 CMe Temas doti oye mae idle mea Mettawa nets ess endear pdomics hi cof which Vital Energy (chi) stimblates the bined round and square ealligraphy. One of fall and heart respectively. The pattern 2 set of seven, this charm it to Be wed only Siggests the ning smoke of incemss: White in the cattern quarters of the house. T fom blue grovnds nd white ied for the under 2 constellation. The penis caries brushed character meaning induced t come. The character also means “by i= 1 Heavenly (yong) Cur for women (yin), with erect penis (ya 34, Talisman of the Charcosl-stove, batcd and behind the how me rial order. The crative diagram. i Sor of cate diagrams totce sous froma th influence) being cured by re-establishing Bel of the Earthly Prison (Le. 37 Talisman to vitaze che lungs, in tHe Tight balance between yin and yang th the iron couch the pile tomded tym) ‘calligraphy, To. be wd though sexual intercourse. (Too-targ 21 of knfe-bades, the hollow pliar under the sign ofthe tem branch of the *6°4) with furnace inside, the b wlfron, Twelve Earthly Branches (coeesponding the ron whee, saw and Wes) It 1 Natural rock-formation in Hong ivi) of the Kong, 2 place fmtre of Heaven. women. Allnight lantern festival take black ground. Attic place here, connected withthe taismat in an ently Tathecen- cult of the Heavenly Cure 62 >XiaRC ia eR seme niin Ree AaatiN eas Pate OS ite Oe ON Rd ae aaa SIN SCARE AIT rae é TSA ISS es ek aD ie re SS abe yeeSeGs col tePlates 42-55 Cloud formations were associated with the movement of spirits, which were believed fo divell in mist, emerging suddenly to manifest themselves before human beings. A purple flash, or clouds of five colours, frequent marked such supernatural events. But these spiritual contacts too could be controlled by the magic power of calligraphy, and the various cloud-morifs employed in Taoist graphics serve this very purpose. Thus a variety of superbly linear and vapoury ‘Cloud Script’ forms derive their shapes and therefore their magic power fiom cloud formations. They are believed to ith the spirit world, hence their extensive use in talismanic graphic art. Cloud formation have special powers 10 enable man to communicate with or without constellations, also provide the model forthe magic art of movement (plate 42), and even geomancy (plate 46). Sound was believed to penetrate this mysterious cloudy spirit world, 50 th often used in combination with spoken at talismans were harms, incantations, and chants. 1 49) are wr The musical scores accompanying diagrams ( ren in a resembling magic Cloud Script callig. performed in mireor- absorbs yim water and thus prevents rain, elemem The thrce pair of female (From the geomancy manual of Chiang aalligraphy in he living, with the lege Pingechien Shullingching 11380, 174404) the Immortals, seek ean exercises h century, Ming ie Heavenly Horse’), while 47 Diagram for making ran, based on th heir arm-mavements symbolically reach Sey constellation othe Great Dipper $1 Taoist mu out to invoke the spin harmony with with a bird-headed cloud formation, symm~ mystic "Sound he Inner Alchemy. The Cloud Dasee links boliring "the bursting of cloude and rain ymms tothe Immortals, Tao-seng 602-1 Spire world. (Rubbing from a stonc-en- text, sexual intercourse. was believed 0 graving on an carly T'ang tomb, excavated produce act rainfall Black ink, (From 1 s2_ Calligraphic exereiw ented "Sound 73-4) Foth-centary Taoise westher-manval) The character is executed by the come 48 Diagram of movement, based on the in New York) in the ‘Sound of Jade’ 3. “Fight of the Phoeniy’ ‘evenstar constellation ofthe Gress Dipper, style of mystic script (Shown at one-man magic symbolically inviting the usion of symbolizing, as the tie state "the inter” extubiion Hong Kong 19 yim and yong, performed. by. acrobatic course between Heaven (yang) and Earth dancers of the Peking Opera. This move- (yin) in the footsteps method of the Great $3. The Taoist Cloud Script (yin) em- iment expresses the same theme asthe magic YU (legendary emperor of the Hsia dyn- ployed as decoration on a brosh-holder 0 diagram shown on the acing page sty) hese seven step (te fise and fe hale or rock (yong) shape. (Tien 4 Magic di ms of ritual dance combined with semud intr yin tain-louds. (Cinnabarted and blck three diferent stn indicated in the die Sipe which scm sal retin talisman Script was used to empl 45 Diagram to prevent grea rainfall and 49_The waterfll~Mountain yin (clouds, mist ete) and yang (Henve wind, The cinnaber-red aun collects black Falk’ — is made up of musical The standard forms of the Chinese charac- jouds ins fal miniveent of the hymns tothe Immortals. These are er are printed below, (Teo-t cs geomancy pattem shown on the fc the "Sound af Jad’ style of mys page. (Froma igth-century Taoist we graphy. (Sleeping Dragon 0 manval) devil, attibared to Li Kun Text of Primordial Tae, an. "of, of the Northern Sung say, uriten in Cloud Seripe cha 16 Geomancy pattern known as “The with the tandard forms of Chinese charace wving Spirits collec: Water, indicating 50. The vertical linearity of ters above. (Sung peviod, Tee-ang 220-3 increased yong influence ofthe spvits which Behind these mosiiarsincorp . 70QR dew he seedy rer)we seit BARGE .eS ‘8B NS ARRAS ta So # AS SS Bee SS BOS) NM Ayal Sd > 2 US ea &—~S—s=> HSS Sa onge gS ae —— 3 AS 4S K ae = Ha See HES Gee aS ambi Sa + 5 ~ Se ee 2 OS 6 oO °* Sie ee Uy ae Ny Fe BE 0 Bae fe nde ee 28S Ey i the ay te Er Se eS easy ey BR~ lax Ae RQmk aes 2 MN? [ALWIL aE rere Crdo7T | NS RSE PAR ER Si Bs GO A NRA RRS SOM Dee RRs | PO Slk SLB ah DN RR 4 | Wea wMHia Ss Dew ores Kok | IARISR RC SSeS hak Kak mR < | GAD PRD LOR KBE MH esDae ah eB 104 02 yy sda) ag De | BEAR K Ser Se GORE I 7 I [RREOK MSA GYM KR < GOI ARI MY ok SSK AD K BHRIL A Potes rie] Oa DH D HL we See ae Oa) ASOT HM Ble ADA ola Drag NF By BEE ok LF Ai e ZOKODD 8 Aa Sf ree SE NLL LIELD 4c PD ges al 2 SDs "| | Be NC LER EY BSNS IDE nea 8G) 10) C2 see aad fore JEM ae 3 1 oh AD oe SRA OC AN | | | Oh )- andy ah aD wap BPSK ede aU maid 2 Sv wt) ae anf) aQ 0G wns # Si) aanGh of? «ON wits, 9S WS a Su) | whl eS Kas «Go| RUE 22) aN BED) tl 2? \ Ir FD of eh he |Plates 56-63 Invisib group amor onn a special us patt occult graphic diagrams. The purpose of these event danger a ties, and 10 suge rather than to ins. Th which would enable one to void confrontation with spirit ions of the in he E location or landscape. As patterns included various ‘scientific’ observa wind, and underground-water currents of relating them to powerful tools of sympathetic magic, enabling one to bring about m k is of desirable changes. Their occult a is is indicated by the t les of these geomancy patterns (as given in the These ideas Representational art makes full use of these forms were also employed with the utmost yin and ya ional C medicine and diseases in trad inese herl acupuncture. They prot d spots to be stimulated ‘to evoke’ — as one would roth ke intensity of stimulation of the affected areas and nerves en t0 the body’s hollows, and blood and breath conveyance c stcoms. The diagram — war how in ch below Chi " Ping-chien, the Sha 60 The tion ofthis scene of lovers atern_ know! A. Lake peacefully the ‘Great Ukimate, rai Gathering Pebbles" a Taoist metaphor for i cual te intercourse. (Blue and. wi _ th of the Thirty Heaven and Ear res. (Porcelain, mi 61 Geomancy pattem known a8 A Lak ing cynast peacefully Gathering Pebbles (F ste (ais), represented 2s the union of 63. Geom ns known a3°A Host meelocked. yin and yong. (From the Shui= Sailing with hove), and “H ching 3:11, 174404 ring ina Cave with Bent B itary handbook ss dated ching 3: 168, 1744.60) 2 Placed on 2 eigram ns) apart, the female (yi n Geomancy pattcms known as A allie candle to produ immortal’ fucking the Lote pe gm, shove). and “The Left and Right Hande of ih by Mao Yian-s, 1062; recenly repro an Immoral. (From the Shasta ching duced in'a Maoist article relating to guerila 5:06, 174464Mei Ss ne DAICINY Se SS ———Plates 64-81 The magic ingredients of Taoist occult at were provided b calligraph th the components’ al, others abstract, as well-as by mtaries in the Tao-tsang explain components, some picto ir general design. Extensive comn nificance, though mostly in characterstcally laconi¢ terms. For i he Taoist canonical analysis of the magic le Talisn 66), the sequence of twenty diagrams reveals the order 0 ‘magic rites, and reflects the ‘Journey of the Soul’, guided by stars in heaven and by lanterns on ear Charms containing characters for ‘longevity’, ‘happiness’, and ‘good luck’, executed in a variety of graphic styles (plates 73, 74) also form an important component group. They too are believed to work by virtue of sympathetic magic. Less common pictorial elements are human he legs and arms, wh osed to confer ex he spirit figures of the popular d with almost childish simplicity (plate 81), talismans. These members are identified w Taoist pantheon. Some are execu others skilfully incorporate magic characters of great complexity (plate 7 4.65 Talismans ficenth and (Blue and white porcelain bowl, Wan-li 75 Talisman to repel demons, represent- ite Informers of Heaven, with bod mary stone rabbing) Picton abstract hic com 6 surviv ponents, Extensively wed a ‘papee money ih 76, Talismatic picture of the Toi For bribing spires (Prom an early 12th i f Literature, K’uc-hsing, made from two century work, Tao-tang 463-273:76, 9 8 brushed characters forming his name. H stands ona aracer, 0, the mare of fener 7m jane carte sad to support the Earth, (On the Jad (plate 63), trom the I-shing. The style snggerts th fated stone-rubbing; printed Ma Te-ch T nt aw mitt Tor ° 7 taracters ofthis caligraphi rom. the . Tao penctratss Heaven and which | Show — ‘long Wife — at the centr uslities beyond. Form’ . dragoncand-cloud design representing th of Longevit bt tnion of Heaven and Earth The talisman ing said 10 4 ‘ : : ; ipa aad aaa, preopowsra aa ob ; ‘oy Tang trewan sed 5 bation Schober popula hr Kao-ku sed of Buk peice Eochds Chsting jest Lani arranged a the Hall; (16 Four Directions; (17) the Six me de ee Chins 7 od om fest pl Receiving ofthe Majestic Four Vital Spire 4 Mao's portrait is flanked in proces rolong’) 3, 300 shem 4. Assource the Tous Doom ks eqnce set tp Some Toost mains The colourscheme, Kip pro ae ‘sce psf ote cen ao Tao ybions uly work, Tan 210-9: eam reveal miulkiperceptoel coptacss with Province, 19 9 Talisman for sccking employm Sora oh he Jade T ddressed to the the f an of the Armour of Man. The ‘Spt he pow spf Earth bye 8 fr nen don for each of the Five Elements). (Taotsan the 1st moon o ly Yiian in dav 00, Taotsang 853: 1 Epo Geo on Sab ge freee oft pags wed inher Character "bopper De spt wi only move m2 eg wspicious character show ity”. 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SITGVU Say nAEA St Rie He WK Rika WE BLE > ASE ane @ hace 1s ate i Ree Wb 3 | QI) ade . Be 3) 5 6 een oo" SOURHELL inh | ESS Uy)= i AS WA iimnrn u ee~ Fe RITE FEES TE TN HICK GKYXHH Suen EN REEL HOH ED2 Ane ie Ay) e \ tH Rei. SRV AR | 3d eh ae |g (ae SRY R |Gwrood with round ally Chronology iris and fe swasc¥on 600-16 aligeaphy. The Cuou joa7- 23 Side withthe figure of L owes a4 known as Lao Chin or Lao Tan Haw nly regarded 3 che originator of Tapas KuvcDoMs Taoism, He holds a seroll in one hand, ding under pine-trecs on aw Seotrocare 65 buffalo, on which, according to su sit be left China co crave toward th T'ane 618 $06 try Five Dewasni 96 Senc % ‘Yoaw (Moncou 0-1368 Min 1568 Cesc (Manca - Bibliography J. Blofeld, The Sere and the Note on the Tao-tsang (Taoist canon) section (ies 1933), th (Cave of Tet), contains tment of the Mao-shan Taoist, cal knowlege of tances, Te Legezn,‘Art and Tao" in Apoll ol xe P. Rawson Lonuon, 19 cluding the comm of tstsmans The hid section (515-979 vacracaionguenaihecatorse — Acknowledgments i Han dymiety, to Chang Ta ed “Orthodox One O Mitchant& Seam Lond Saeed arena ee Sothebys & Co. London 13,53 08 tion, Diagram tions appear throu rare to te, ch